The systematic study of orchestral practice and instrumentation in the German Baroque Opera has until now been assigned a relatively insignificant place in biographies of specific composers, or in historical studies of particular centres. Many of these works, while presenting a valuable compilation of the instrumental methode of a particular composer, or of the adoption of his style to meet the conditions of performance which prevailed from one centre to another, do not however supply their readers with a chronogically exhaustive investigation of the role of the orchestra in the baroque theatre, nor of the contribution made by theatre orchestration of the general artistic development of orchestral music as a whole.

Leon Francis Victor Caron (1850-1905) was one of the major figures in Australian nineteenth-century opera and orchestral circles. He was a well-known and well-liked public figure, regarded with respect and affection by musicians and audiences alike. Little has been written concerning Caron’s career. Given the amount he contributed to the Australian stage, an assessment of his importance within the music profession is warranted. Most areas of Caron’s life are, as yet, totally unexplored; it falls outside the ambit of this thesis to present every detail pertaining to his varied and extensive musical career. Nevertheless, new information about a selection of Caron’s ventures is drawn upon here for the first time. Much of this material is used to examine the impact of Caron’s conducting on the orchestral profession in Melbourne and Sydney. Many of Caron’s performances (orchestral or otherwise) often featured the popular music of the day. The popular aspect of Caron as a composer is also considered, with particular reference to the incredibly successful pantomime Djin Djin. An examination of Caron’s performances gives great insight not only into the part he played in the wider profession; but it also sheds light on orchestral standards, performance practices and public tastes of the time. His contribution to the music profession in nineteenth-century Australia is extremely significant.

Thesis (M.M.)--University of Missouri-Columbia, 2007. / The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on April 4, 2008) Includes bibliographical references.

Thesis (Ph. D.)--University of Texas at Austin, 2007. / Includes bibliographical references (p. 304-307). Also issued online.

Thesis (doctoral)--Rostock, 1911. / Vita. Includes bibliographical references.

Inaug.-diss.--Munich. / Lebenslauf. "Vorliegende Arbeit ist hervorgegangen aus einem Studium der hannoverschen Kapellgeschichte."--Vorwort. "Verzeichnis der benutzten Literatur": p. [7]-10. "Bibliographie": p. [207]-215.

Thesis (Ph. D.)--Indiana University, 1962. / Includes vita. Includes bibliographical references (leaves 263-267).

Thesis (Ph. D.)--Johannes Gutenberg-Universität, Mainz, 1995. / Includes bibliographical references (p. 280-288).

Thesis (D.M.A.)--University of Oklahoma, 1988. / Includes bibliographical references (leaves 67-69).

Thesis (Ph.D.)--University of Wisconsin--Madison, 2009. / Advisor: Jeanne Swack. Includes bibliographical references (p. 299-311).